Essay Question:

“Examine the informational structure and interactive possibilities of ONE piece of ‘conditional design’ (game, narrative, collaborative process) of your choice. Explore these as examples of interaction, with particular reference to the role of the audience & designer in each.”

Within this essay I will inspect the informational structure and interactive possibilities of the ever developing simulation video gaming sector, focusing mainly on the open world series Grand Theft Auto, the aspects of simulation involvement within the games structure and the roles of audience and designer play out.

With video gaming as a generalisation, they can consist of different forms of interactive possibilities dependant on the storyline itself, and through the ever developing technology assessable to designers, the opportunity for the user to have control over what narratively occurs is ever developing. The conversation on if gaming stands within the stimulation sector is constant. Roger Caillois states that a game must contain characteristics like being “free, separate” and “uncertain”, on the other hand Kevin J. Maroney states that “A game is a form of play with goals and structure.”, therefore the definition can be argued dependent on what type of game we’re discussing. The definition of Simulation ranges from “the creation of an artificial world which approximates a real one.” to “any synthetic or counterfeit creation.” (Prensky, 2001), thus creating the reality that the term simulation is a broad one, that ultimately can only be linked to gaming if the simulation is structured as a form of play.

When it comes to interaction, its an idea of being reciprocal, somewhat of a conversation back and forth between two or more commodities. Interaction is focused around the two-way effect, one aspect can’t function without the other, or it no longer forms an interaction. Within an interactive design framework, according to UX booth the methodologies consist of “Goal-driven design, usability, the five dimensions, cognitive psychology, and human interface guidelines.”, therefore the designer has a method to the madness of design, with the focus being what needs to be communicated to the user is done successfully, and the result is what’s expected. As Gary Perlman states that the aim of interactive design is to “Bring usability into the design process”, therefore this form of design should have the users position as the ultimate focus. With video gaming, the way the designer sets out the structure can heavily influence the interaction between them and the audience. The potentiality of the designer setting out a particular concept or idea, and the user being able to make somewhat of there own outcome, resulting in a collaborative process in how the game plays out. A video game also falls under a form of interactive design, as Gary Perlman states, interactive design revolves around creating an “enjoyable user experience.”, with gaming it’s just that, an enjoyable experience that allows someone to escape for a duration of time.

When focusing on Grand Theft Auto, it’s an open video game that gives users the opportunity to explore a ‘simulated’ world, and as Sam Houser (Co-Founder of Rockstar Games and a designer for GTA) once said, the game “casts players into their own criminal universe.”. Grand Theft Auto somewhat sits within a sub genre called simulation video games, by users experiencing an artificial world that sources aspects from the real thing.
Within the structure, the game focuses around the user playing a criminal role, with the option of partaking in missions to earn money and develop further within the game, and as Aaron Gabut stated, “to make the player feel like he’s starring in his own fucked up Scorsese directed cartoon.”.
A similarity within the entire GTA series is the opening structure, the author uses the interaction between them and the user to give an initial introduction into the storyline, and to get insight into the character’s life. The first mission itself is somewhat simplistic, this is when the ‘author’ takes control to assure users that they understand the functionality to navigate around. The independent possibility is to skip and dive straight into gameplay, yet the author has the user in mind by passing on information that could be of potential use when progressing forward.

In gaming mode, when assessing the communication from designer to user, especially within the first initial stages, the designer interacts with the user on how to navigate around. For example, on how to use the console controller or how to open the map fully. Although the game caters to an adult market, the skill set of a user can vary. “Designing usable interactive products thus requires considering who is going to be using them and where they are going to be used. Another key concern is under- standing the kind of activities people are doing when interacting with the products.” (Sharp, Rogers, and Preece, 2007). The designer of the series will have had to focus on what instructions are a necessity, therefore showing a positive form of interaction, with assuring that no matter the experience of the user, gameplay can still be enjoyable.

Once the first mission is completed, the freedom is there to explore somewhat independently. Through phone calls, linguistic messages on screen, vocal commentary from characters or symbols on the map, the designer gives several forms of informational structures, and forms of interaction, to push the user to follow the storyline of the game. If a user decides to defy the intended structure, like for example within exploration before completion of necessary missions, aspects of the game will work against the user. One downside to most of the games within the series, is that the map is usually locked to one area initially, and if you decide to go where the designer has restricted, police are then sent to arrest you. If police attention has been drawn to you, dependant on the number of stars on the screen alter the severity of the police chase. In relation to interaction with the designer and user, this is a major point within the game where the designer turns almost everything against the user, forcing them to make a choice, to follow the intended structure, or attempt to fight it with the risk of death to the character.

In comparison with this restricted process that every game within the series has consisted of, Grand Theft Auto V takes an alternate route, “The entire world of Grand Theft Auto V is open from the very beginning of the game to explore.” (Grand theft auto V, no date). This restriction was something that has been discussed between fans since the start of the series, as this gives users no option but to play missions, leading to miscommunication with fan requests. This form of interaction should be about “listening to what people want and getting them involved in the design.” (Sharp, Rogers, and Preece, 2007), especially due to it being a game series, testing out what people like or dislike and making changes in the future should be a focus.
The size of the map has not only evolved, but the additional offerings when deciding not to partake in missions. Labelled as Recreational Activity, the game gives users the ability to play out somewhat realistic actions, relating to the idea of the series taking from a simulation stylistic approach to gaming. Users can play golf, do yoga, go scuba diving or even speed racing to earn some additional cash.

A strong change is the three main character aspect, users can switch between them and play out completely different lifestyles that at times intertwine. This gives users the chance when not partaking in missions, to mix it up and have a greater variety of possibilities of how their gameplay at the time is used. When it comes to playing missions, the involvement of the characters depends, but having the three separate characteristics brings a different structure to how missions are established in comparison to the previous. "Players will experience missions as different combinations of the three characters, and each will have a different skillset.” (Characters - GTA 5 Wiki guide, 2014). With this style of gameplay, it gives somewhat of a ‘god’ effect to the user, with involvement in the games storyline.

In relation to the ‘god’ effect, users can customize their characters, and with all three having different looks and backgrounds, it brings variety and choice. There’s several ways you can alter their look, from going to the character’s personal closet, visiting a clothing store or visiting a barber shop to customize hairstyles and facial hair. With this, there are some restrictions set by the designer, dependent on what character you’re playing will differentiate the options when it comes to styling, resulting in somewhat of a forced collaborative interaction with the designer’s vision.
An opportunity within the game where the user can switch roles with the designer is by using cheat codes, hidden in the video game by the creator. “Semi-official codes, created by the designers and hidden in the game-code, it gives extra skills to the player which are actually not part of the official game- mechanics itself.” (Sezen and Isikoglu, 2007). If a user has the knowledge on how to access them, it gives the player the opportunity to make the game easier or harder. Although this type of cheating is somewhat accepted, due to it being placed there purposely, it still disobeys the intended aim of the game that’s publicly discussed. Using a healing cheat code for example on a difficult mission could potentially save you from failure, and the acceptance of this depends on the individual. “While some players see the cheating techniques listed above acceptable and even positive, for some they are firmly unacceptable and negative.” (Consalvo, Sezen and Isikoglu, 2007). Therefore, using cheating codes is down to an individual’s perspective, with the debate on whether this negatively impacts the intended interaction between the user and designer.

Upon completion of the last mission, the world of Grand Theft Auto is still open for further exploration. In comparison to other games, most end with credits, then you either start again or simply move on. Especially with Grand Theft Auto V, dependent on the ending chosen, you continue as one character or all post completion. If a user feels dissatisfied with the outcome of the ending, within the menu options the choice made can be altered. No matter the outcome, players can still keep in contact with characters that relationships have been built, so there’s no significant disconnect in comparison to playing before the stories completion. The designer created a never ending amount of activities to keep busy with, therefore the city itself won’t ever feel fully explored.

To elevate users gaming experience within the series, especially honing in on the last two additions of Grand Theft Auto, an online multiplayer option has broadened the opportunities of activity within the game. The multiplayer function takes away from the typical structure of the game, especially if you enjoy following the designer’s system and play missions. “Missions can be launched on the fly, and can be structured or non-structured depending on what you're in the mood for.” (IGTA5, 2013). Within this additional experience, you can completely create a bespoke world, from your character’s appearance to the surroundings, the designer hands over the tools, and the user takes complete control.

This essay discussed the informational structure and interactive possibilities within the video game series of Grand Theft Auto, and how the role of audience and designer can interact within one another. By breaking down gaming, interaction, structure and simulation, I conclude that Grand Theft Auto is an ever developing series, with more freedom being given to the user in time, shifting the idea of how communication occurs with the user and designer in a video game structure. The simulation inspiration with sourcing from somewhat realistic attributes, provide users with a relatable feeling to the games setup. Grand Theft Auto as a series is an escape from real life, and takes you to somewhat a “satire” of the modern world through the authors creation. The author has provided the foundation, yet the user has choice on what do with it. The power of option to do just about anything within the game, draws the public back in, time and time again.


Bibliography / References

Caillois, R. (2006) The Definition of Play, The Classification of Games. Edited by Katie Salen and Eric Zimmerman. Massachusetts: .) p.128

Reiners, Torsten and Lincoln C Wood. Gamification In Education And Business. 1st ed. 2015. p.6

Prensky, M. (2001) ‘Simulations’: Are They Games?. p.2

Booth, U. (no date) Complete beginner’s guide to interaction design. Available at: http://www.uxbooth.com/articles/complete-beginners-guide-to-interaction-design/ (Accessed: 7 December 2016).

Sharp, H.M., Rogers, Y. and Preece, J. (2007) Interaction design: Beyond human-computer interaction. 2nd edn. Chichester, United Kingdom: Wiley, John & Sons. p.2

Sharp, H.M., Rogers, Y. and Preece, J. (2007) Interaction design: Beyond human-computer interaction. 2nd edn. Chichester, United Kingdom: Wiley, John & Sons. p.2

Kushner, D. (2012) Jacked: The outlaw story of grand theft auto. United Kingdom: Wiley, John & Sons. p.123

Kushner, D. (2012) Jacked: The outlaw story of grand theft auto. United Kingdom: Wiley, John & Sons. p.123

Sharp, H.M., Rogers, Y. and Preece, J. (2007) Interaction design: Beyond human-computer interaction. 2nd edn. Chichester, United Kingdom: Wiley, John & Sons. p.4

Grand theft auto V (no date) Available at: http://www.rockstargames.com/V/info/lossantosandblainecounty (Accessed: 7 December 2016).

Sharp, H.M., Rogers, Y. and Preece, J. (2007) Interaction design: Beyond human-computer interaction. 2nd edn. Chichester, United Kingdom: Wiley, John & Sons. p.5

Characters - GTA 5 Wiki guide (2014) Available at: http://uk.ign.com/wikis/gta-5/Characters (Accessed: 7 December 2016).

Sezen, T. and Isikoglu, D. (2007) From Ozans To God-Modes: Cheating in Interactive Entertainment From Different Cultures. p.8

Consolvo, M., Sezen, T. and Isikoglu, D. (2007) From Ozans To God-Modes: Cheating in Interactive Entertainment From Different Cultures. p.8

IGTA5, ig. (2013) GTA 5 Multiplayer. Available at: http://www.igta5.com/multiplayer (Accessed: 7 December 2016).